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A dazzlingly original and ambitious book on the history of female self-portraiture by one of today's most well-respected art critics. Her story weaves in and out of time and place. She's Frida Kahlo, Loïs Mailou Jones and Amrita Sher-Gil en route to Mexico City, Paris or Bombay. She's Suzanne Valadon and Gwen John, craving city lights, the sea and solitude; she's Artemisia Gentileschi striding through the streets of Naples and Paula Modersohn-Becker in Worpswede. She's haunting museums in her paint-stained dress, scrutinising how El Greco or Titian or Van Dyck or Cézanne solved the problems that she too is facing. She's railing against her corsets, her chaperones, her husband and her brothers; she's hammering on doors, dreaming in her bedroom, working day and night in her studio. Despite the immense hurdles that have been placed in her way, she sits at her easel, picks up a mirror and paints a self-portrait because, as a subject, she is always available. Until the twentieth century, art history was, in the main, written by white men who tended to write about other white men. The idea that women in the West have always made art was rarely cited as a possibility. Yet they have - and, of course, continue to do so - often against tremendous odds, from laws and religion to the pressures of family and public disapproval. In The Mirror and the Palette, Jennifer Higgie introduces us to a cross-section of women artists who embody the fact that there is more than one way to understand our planet, more than one way to live in it and more than one way to make art about it. Spanning 500 years, biography and cultural history intertwine in a narrative packed with tales of rebellion, adventure, revolution, travel and tragedy enacted by women who turned their back on convention and lived lives of great resilience, creativity and bravery.
The authors select self-portraits by a range of European and American painters up to the present day to narrate the stylistic development of women's self-representation in those parts of the world.
"Mirror Mirror explores the history and function of the self-portrait in the work of forty women artists, from the seventeenth century to the present day. It covers works in all media, from oil painting to photography, from woodcut to ceramic sculpture, and includes self-portraits from such major artists as Mary Beale, Gwen John and Dame Barbara Hepworth; as well as lesser-known figures such as the Zinkeisen sisters, Madame Yevonde and Lee Miller. There are also portraits by women artists known primarily for their work in other media - including the self-portrait relief by Susie Cooper." "The works themselves appear chronologically, and include full biographical details of the artists. They are supported by essays from two leading art historians in this academic field: Whitney Chadwick, who discusses ideas of style and technique, including the artists' exploration of their own identity, and Frances Borzello, who presents the historical background and artistic context to the illustrated works."--BOOK JACKET.Title Summary field provided by Blackwell North America, Inc. All Rights Reserved
The first chronicle of the whole story of female self portraiture through the centuries—a key work in the study of women’s art For centuries, women’s self-portraiture was a highly overlooked genre. Beginning with the self-portraits of nuns in medieval illuminated manuscripts, Seeing Ourselves finally gives this richly diverse range of artists and portraits, spanning centuries, the critical analysis they deserve. In sixteenth-century Italy, Sofonisba Anguissola paints one of the longest series of self-portraits, from adolescence to old age. In seventeenth-century Holland, Judith Leyster shows herself at the easel as a relaxed, self-assured professional. In the eighteenth century, from Elisabeth Vigée-Lebrun to Angelica Kauffman, artists express both passion for their craft and the idea of femininity; and the nineteenth century sees the art schools open their doors to women and a new and resonant self-confidence for a host of talented female artists, such as Berthe Morisot. The modern period demolishes taboos: Alice Neel painting herself nude at eighty years old, Frida Kahlo rendering physical pain on the canvas, Cindy Sherman exploring identity, and Marlene Dumas dispensing with all boundaries. Frances Borzello’s spirited text, now fully revised, and the intensity of the accompanying self-portraits are set off to full advantage in this new edition, now in reading-book format.
The first survey of women's self-portraiture to be focused exclusively on painting, this book opens with an original attempt to reconstruct from contemporary accounts the work of artists of antiquity such as Marcia, Timarete and Eirene. The authors then select self-portraits by a range of European and American painters up to the present day to narrate the stylistic development of women's self-representation in those parts of the world. The story of the self-portrait offers fascinating insights which deepen our understanding of these artists' working lives, priorities and preoccupations. With its chronological sweep, its lavish illustrations, including many works which have not been reproduced in print before, and its extensive bibliography, this book is an indispensable guide to a fascinating subject.
In his fascinating survey, art historian Omar Calabrese reveals that self-portraits through the ages are both a reflection of the artist and of the period in which the artist lived. Organized thematically, the author first presents a basic definition of the genre of the self-portrait, interpreting the picture to be a manifestation of self identity, and including examples from an Egyptian tomb painting and pictures on stained glass during the Middle Ages and continuing to modern times. The next chapter focuses on the turning point for the establishment of the genre during the Renaissance when the status of the painter or sculptor was raised from artisan to artist and, as a result, portraits of the artist were considered worthwhile pictures. At first a self-portrait was hidden in a narrative painting: an artist would paint his image as part of a crowd scene, for example, or as a mythological figure. On the other extreme, once the genre was accepted, it was practiced by some artists—Rembrandt, van Gogh, Munch, and Dali, for instance—as almost an obsession. In contemporary art the self-portrait can become a deconstructed genre with the artist hiding or satirizing himself until he nearly disappears on the canvas. Among the 300 pictures featured here are examples by such artists as Albrecht Dürer, Velazquez, Elisabeth Vigée-Lebrun, Ingres, Degas, Toulouse-Lautrec, Gainsborough, Matisse, James Ensor, Egon Schiele, Frida Kahlo, Man Ray, Henry Moore, Robert Rauschenberg, Norman Rockwell, and Roy Lichtenstein. This intriguing book is a fresh way to appreciate the history of art and to understand that a self-portrait is far more complex and meaningful than merely a portrait of the artist.
This title was first published in 2000: In this volume, the authors trace the development of women's representation of themselves as artists from antiquity to the present day. Identity and beauty are two of the most difficult and unstable concepts in art history and this account articulates many of the issues related to the portrayal of women's bodies. Arranged chronologically by chapter, each period is described by a specialist author. Beginning with recorded accounts of the work of artists such as Marcia Timarete and Eirene, the authors take their examination through to the present day and the work of Louise Bourgeois, Howardena Pindell and Paula Rego. Self-portraits can disclose fascinating details about the painters' lives, their studios, their education, their ability to travel, and their relationship to past artistic accomplishments. The setting, the posture, the activity of the sitter can all express confidence, or the lack of it, in the artist's own professional status. They are also interventions in contemporary debate on the representation of women and notions of beauty. In the 20th century in particular, the self-portrait becomes a strategic site in which women artists challenge notions of womanhood and beauty.
With 43 illustrations of works by Louise Bourgeois, Frida Kahlo, Alice Neel, Cindy Sherman, and Jo Spence, among others, The Art of Reflection is the first sustained inquiry into the appropriation of self-portraiture by women painters, photographers, scultptors, and performance artists.
Historically, major women artists have been excluded from the mainstream art canon. Aligned with the resurgence of feminism in pop culture, Broad Strokes offers an entertaining corrective to that omission. Art historian Bridget Quinn delves into the lives and careers of 15 female artists from around the globe in text that's smart, feisty, educational, and an enjoyable read. Replete with beautiful reproductions of the artists' works and contemporary portraits of each artist by renowned illustrator Lisa Congdon, this is art history from the Renaissance to Abstract Expressionism for the modern art lover, reader, and feminist.
Paris was the epicenter of art during the latter half of the nineteenth century, luring artists from around the world with its academies, museums, salons, and galleries. Despite the city's cosmopolitanism and its cultural stature, Parisian society remained strikingly conservative, particularly with respect to gender. Nonetheless, many women painters chose to work and study in Paris at this time, overcoming immense obstacles to access the city's resources. 'Women Artists in Paris, 1850-1900' showcases the remarkable artistic production of women during this period of great cultural change, revealing the breadth and strength of their creative achievements. Guest Curator Laurence Madeline (Chief Curator at Musées d'art et d'histoire, Geneva) has selected close to seventy compelling paintings by women of varied nationalities, ranging from well-known artists such as Berthe Morisot, Mary Cassatt, and Rosa Bonheur, to lesser-known figures such as Kitty Kielland, Louise Breslau, and Anna Ancher.